The David Herrera Performance Company is one of nine artists at ¡FLACC! — The Festival of Latin American Contemporary Choreographers — “[a] three-day festival exploring how political, economic, racial, and religious tensions impact Latinx communities, and how they can survive them. Pointedly, the event takes place in [San Francisco’s] predominantly Latinx Mission district, a neighborhood currently enduring a wave of gentrification, and in a venue trying to stay afloat with increasing rental costs.”
“Allyson Esposito, the director of arts and culture for The Boston Foundation, … says the grant is meant to fund genres and artists who have been chronically ignored by funding institutions in the past. ‘There’s been just this great divide along racial lines and genre specific lines around what has and has not been getting support.'”
Katy Waldman: “There is something counterintuitive about cli-fi, about the fictional representation of scientifically substantiated predictions that too many people discount as fictions. … Literature has always been a humanist endeavor: it intrinsically and helplessly affirms the value of the species; its intimations of meaning energize and comfort. But what if there is scant succor to be had, and our true natures are not noble but necrotic, pestilential?”
“The budget committee of the German parliament’s lower house has approved €330m — a sum to be matched by the city of Berlin — to finance a ten-year renovation and extension of Berlin’s Natural History Museum and create an online database of its collections. … The €660m exceeds the budget for rebuilding the city’s royal palace and creating the Humboldt Forum cultural district around it.”
Buoyed by a surging economy, Chinese dealers and collectors have since the mid-2000s been bidding formidable sums for the finest artworks from their country’s past. … [In fact,] with their own market awash with forgeries, the Chinese look to Europe for pieces with ownership histories that guarantee authenticity.”
The biggest fall in fundraising income was seen at the Tate group of galleries, where the level fell last year by £18.1m (26%) to £51.6m, its lowest since 2011/12. A spokesperson for the gallery group said that the higher levels of income seen several years ago include large amounts of capital raised for the new Tate Modern extension, which opened in 2016, as well as for the expansion of Tate St Ives, which opened last year.
“Classical music loves anniversaries — because, more than any other branch of the arts, it’s focused on looking at an increasingly distant past. Classical music comes into its own at times of commemoration and mourning: Even the mass audience tends to embrace classical music at a funeral. … Today, when classical music is eager to reassert its relevance to the world at large, this kind of historical presentation appeals to presenters. The question is whether these Armistice observances actually prove classical music’s relevance or simply serve to wrap history in a PBS soundtrack of nostalgia.”
“An early-morning substance-free ‘party’ held about once a month in 25 cities across the United States …, Daybreaker events are like the compression shorts of Millennial experiences: Sort of uncomfortable, but also uplifting.”
Two months ago, the principal oboist sued the orchestra over what she alleged was persistent harassment by Jonathan Carney; earlier this month, a musician from another group got a restraining order against Carney. Following the latter incident, Baltimore Symphony management has suspended Carney without pay.
To shoot Of Fathers and Sons, about a family of fighters with the Syrian Al-Qaeda affiliate Al-Nusra Front, Talal Derki (a Syrian Kurd)returned home from a safe exile in Berlin and convinced that family and its fellow extremists that he was sympathetic to their cause. Now that the film is out, he’s getting plenty of threats.
Production company Brave Bison, formerly known as Rightster, was awarded £1.8m to deliver the multi-channel network (MCN) for the arts in 2014. It was launched in September 2015, aiming to make arts content more discoverable and engaging to audiences, increase the number and range of people engaging with arts online and offline, develop both the skills and digital capacity of the arts sector, and build the volume of creative media.
While it may seem incredulous that buyers of a glass-walled luxury apartment would be surprised by onlookers, residents say that the amount of exposure incurred by the museum’s observation deck exceeds reasonable expectations with “near constant surveillance,” according to the filed lawsuit.
The founders of Glimmer Train, two Portland sisters who created the literary journal with some software money, have been running it since 1994 – and now they’ve announced that the it will have its final issue in 2019. “They decided they wanted a journal with content as high in quality as any other, but also — and this is one of the areas that set them apart — they wanted it to be fun.”
Gérald Bloncourt was born in Haiti, but he spent most of his life in France after being expelled from Haiti for anti-governmental protests. The photographer was “an immigrant following other immigrants, [who] showed people in the Pyrenees on their journeys to France and people in the ankle-deep mud of shantytowns in suburbs of Paris like Champigny-sur-Marne.”
The actor was one of the first to talk about Harvey Weinstein’s sexual harassment, but the past year hasn’t exactly been easy. “I think that a lot of people in this #MeToo generation will tell you it is re-traumatizing to speak out. Because you start examining it again, and reliving it, and history starts repeating itself in your mind. I find myself much more angry about it, because in the past I tried to make it no big deal to myself. And now I look back at the teenage self, and I’m like, that is so terrible.”
Liv Lorent, who created BalletLorent 25 years ago: “Being in the north suited me very well. There was a small clutch of very sincere artists working across disciplines, whereas in London the dance bubble was big enough that I didn’t explore outside it. I liked the light and the weather in Newcastle. … People in the north are less precious generally. There’s much more self-censorship and affectation in London, worrying about what’s the most current thing.”
Tower, who turned 80 this year and whose 2004 Made in America has been performed by major orchestras in all 50 states, says there’s still a lot to learn: “The bass, the piccolo, I’m still working on, and the horn. Those are weak areas for me. I’m going to get there with those instruments at some point.”
Will Disney invest in a lot of international content for Hulu to meet, for instance, European regulations? And will this mean a hit to Netflix’s domination of the international market?
The drawing had been in a private French collection, and before the sale of Salvator Mundi was expected to go for 11 million euros. Now? Buyers have already offered more than 15 million euros – but it could go for more at auction.
Jurjevics, a Latvian-born refugee, published James Baldwin’s final novel for Dial Press, and in 1986 founded Soho Press with two others in order to published books that were overlooked by the larger publishing industry.
You only need to look at Pittsburgh’s art, and the murders of Jewish worshippers at a synagogue there, to see the contradictions. “It is the best of times and it is the worst of times. A time in which the ‘whitelash’ to multiculturalism is becoming increasingly violent. But also a period in which art and culture present a more inclusive alternative to the executive orders emerging from the White House.”
A theatre group was performing – with edits – a high school version of The Reduced Shakespeare Company’s “The Complete Works of William Shakespeare, Abridged,” when teachers and students started texting the principal. Then the superintendent shut the play down.
Folk music and pastoral poetry are both fantasy – there’s nothing of the actual folk or the actual pastoral about them. It might be time for “post-folk” thinking, composing, and writing.
“I’ve done about all the public art I think I really want to do,” the 63-year-old South Side artist reiterated in a phone interview Sunday evening from the Bronzeville studio where he has continued to work even as prices for his paintings have climbed into the stratosphere. “The work I do now, I want to be less accommodating and less compromising … There’s too many contingencies that go with public art, and there are more compromises than I think I’m going to be willing to make from here on out.”
“The loss of this particular team and what they brought as a storytelling methodology and philosophy to this city is not a minor loss. It’s the biggest loss. The mission we started this company with is still something this city really, really needs.”
Margaret Selby: “I work with small and mid-sized companies, so what they need is different than big companies with a lot of infrastructure. It’s not just booking dates — I always say I’m a strategist and booking is a side product. It’s really about developing an artist. … It’s important to trust your own gut. It’s about seeing something before other people recognize it, and jumping on it because you believe in it.”
What, then, to make of this enormous reissue package, The Beatles (White Album) Super Deluxe? Seven discs—demos, sessions, a remastering—and a great big book. Doesn’t it just magnify the sprawl, increase the luggage, barnacle with further add-ons and special features this already ungainly rattle bag of a record? Answer: Yes but no, or yes but who cares, because this is The Beatles, and we want it all.